Zwischen Baumgruppen ein Wasserfall 

Curator: Immediately striking is the scene's delicate rendering – the sepia tones imbue a sense of tranquility. Is it the Romanticism, perhaps? The subdued palette certainly steers us towards reverie rather than sharp realism. Editor: This is a drawing entitled "Zwischen Baumgruppen ein Wasserfall", which roughly translates to "Waterfall Between Groups of Trees," attributed to Hermanus van Brussel and held at the Städel Museum. The composition uses primarily pencil and watercolor, typical media for landscape sketches meant to be later worked up into a full painting. Curator: Yes, I appreciate knowing how landscape painters often used drawings in the field, and the materials employed point toward that more transient, observational engagement... there’s a sketch-like freedom. The thinness of the pigment sits very clearly on the surface of the page. Editor: Absolutely, the artist’s process invites conversation. One has to think about the specific grades of pencils that van Brussel used, or how different concentrations of watercolor could modulate atmosphere... How do the material properties of pencil and watercolor serve van Brussel’s intent here? Curator: Good point! In my mind, it really allows him to define form economically. It isn't heavy or overstated, just precise enough. This adds to the serenity the work evokes, even with the waterfall represented. The landscape almost seems to be breathing softly, there, in that shaded bend of the stream. And that is not without cultural context, too... Editor: Indeed. Note also how, in positioning the figures by the pathway, van Brussel implies a narrative, inviting us to think about issues of accessibility within the broader landscape. There's a marked interplay here between human activity, nature, and a constructed, presumably upper-class viewpoint on landscape appreciation. What labour goes into accessing leisure such as this, in 19th Century Dutch society? Curator: Van Brussel's decision to portray the natural world with such accessible tools speaks, perhaps, of his intent to engage the average art consumer of his period... in other words, no expensive paints required to share your vision of a perfect landscape! Editor: A pertinent point! Highlighting the accessibility of both subject matter and its artistic representation is significant, while acknowledging issues of social privilege implicit within such representation reminds us how landscape is always seen, valued, and materially reproduced via particular social, political and cultural frames. Curator: I am happy to have considered this Romantic tableau and hope our audience gained insights into how materials affect affect! Editor: Likewise – I've reconsidered how artistic visions engage with, but are also shaped by, societal power structures.